An authority in the field of art and fashion

Art Deco Museum in The Hague hosts 300 works by Mondrian

“You have to see the largest Mondrian collection in the world”, says my friend David.
“I wish, but this is my last day in Holland – I am running out of time.”
“But Victory Boogie-Woogie is on display here! Think about it.”

The purchase of Victory Boogie-Woogie, the latest work of Dutch artist Piet Mondrian, caused a huge dispute in the Netherlands in 1999. The abstract painting, which was left unfinished by Mondrian when he died in 1944, was bought by the central bank in the Netherlands at the cost of 35 million Euros from a private American collector – a sum so huge that it generated bitter controversy among politicians who were rebuked by the public for using taxpayer money unwisely.

Today with almost 300 works, the Mondrian collection of the Gemeentemuseum in The Hague is unique in the world as it covers every phase in the impressive career of this master of modern art (see pictures below).

I immediately fell in love with this beautiful Art Deco building, which was designed by Dutch architect Hendrik Petrus Berlage, also called the ‘Dutch Frank Lloyd Wright’ or the ‘The Father of Modern Architecture in Holland’.

This dazzling piece of architecture, which has been home to the museum since it was completed in 1935, has been named “authority in the field of art and fashion”, and is indeed a jewel. It hosts an excellent collection of modern art, showing works by Claude Monet, Pablo Picasso, Egon Schiele, Wassily Kandinsky, Louise Bourgeois, Francis Bacon and many others.

Further information:

Curious to see ‘Victory Boogie-Woogie’? Please click on

http://en.wikipedia.org/wiki/File:Victory_Boogie-Woogie.jpg

More about the Art Deco Museum:

http://www.gemeentemuseum.nl/en

The MAS – Antwerp’s largest museum. A must-see.

Fantastic artifacts from around the world at the ‘Museum on the River’ in Belgium.

The Belgian city of Antwerp is a seaport and the world has been sailing into it for five centuries. A few days ago, I visited one of its new dazzling city districts where I discovered the MAS – the “Museum aan de Stroom”.

Have you ever heard of it before? Well, I had not  … but was I ever impressed when I saw this amazing new icon of Antwerp, which truly amazes and surprises the visitor. Built on the city’s once-abandoned old docks, the Museum on the River brings together several public and private collections and exhibits precious artifacts from around the world.

The concept behind the architectural design scheme of the MAS tower is to “emphasize the heaviness of the city’s history”. The sixty-two meter high sandstone and glass tower was designed by Dutch architects Neutelings Riedijk. I was fascinated by this checkered, rusty red skin tower consisting of ten gigantic natural stone trunks.

The architects covered the facades, walls, floors and ceilings of the tower with large panels of hand-cut red Indian sandstone from Agra, India. “Every storey has been rotated a quarter turn, creating a gigantic spiral staircase”, explains Interior designer Marcia Argyriades. “This spiral space, in which a facade of corrugated glass is inserted, forms a public city gallery.”

About the MAS project:
Surface area: 20.000 square meters floor surface, 11.500 square meters outdoor construction
Construction costs:  € 33.409.000
Location: Hanzestedenplaats | 2000 Antwerp | Belgium
Principal: City of Antwerp in cooperation with AG Vespa
Design: International Competition | 1st Prize | April 2000
Start construction: October 2006
Realization: February 2010

Architectural design: Neutelings Riedijk Architects | Rotterdam | The Netherlands

For further information and reference, check out the following great article:

http://www.yatzer.com/MAS-Museum-in-Antwerp-by-Neutelings-Riedijk

First exhibition of Contemporary Russian sculpture in the Netherlands

37 Artists at ‘Russia XXI’ in The Hague

Strolling through the Dutch city of ‘The Hague’ this week, I came across the work of thirty seven Russian artists whose projects have been exhibited this Summer.  In contemporary sculptures, the exhibition ‘Russia XXI’ presents the longings, poetry, grimness, humour and tragedy of the Russians.  The exhibition, which has been organised in partnership with the National Centre for Contemporary Arts, NCCA in Moscow, is the first large special exhibition of contemporary Russian sculpture in the Netherlands.

With more than one hundred works by the major Russian artists of the past thirty years, ‘Russia XXI. Contemporary Russian sculpture’ aims to offer an impression, as comprehensive as possible, of today’s Russian sculpture. In Russia, the 21st century started early, in the wake of the collapse of the Soviet Union after 1989.

All of the selected artists were born and educated in a society with a turbulent history, in towns and cities where there were monuments to a war or a communist hero on every corner. Their parents were soldiers in a war and they themselves were young pioneers. They may have had Grandparents who were state councilors under Tsar Nicholas II or wealthy land-owners. The sculptural works on display in The Hague mirror the history and ambitions of Russian society.

What were the reasons for the organizor for choosing Russia? “Russian artists play an important part in modern sculpture”, says the Sculpture and Beelden aan Zee Museum. “Sculpture underwent a very interesting development in the past forty years – as in the entire Russian art world there are heated discussions on ideological and social aspects – but here scarcely anything is known about it.”

Alexander Taratynov’s personification of the Siberian River Ob is the subject of this sculpture.  A female figure in grey stone depicted as a water drinker evokes the massive beauty of the river and links it to the water.

The artists reflect on a Russian identity that is western or hails from the Asian plains and react to the changing power of the symbols that in turn are given new meanings. They examine the idea of the artist as a utopian worker who explores his artistic boundaries and finally they anxiously anticipate the end of times, as a metaphor for a mystical Russian soul. Past, present and future are inextricably linked in the world of these sculptors.

Please click here for a list of the participating artists.

The merits of mobile phone photography

Glenn McGillivray on the democratization of art and communication

My ex-colleague Glenn and I used to work for a big reinsurance company for many years. It wasn’t until recently that I discovered his passion for photography when coming across a wonderful selection of  pictures on his website www.rgmcgillivray.com/

Bathing Pavillion front by Glenn McGillivray

Collingwood Terminals Two by Glenn McGillivray

Glenn, how did you get into photography?

Glenn McGillivray: Perhaps two years ago I was inspired by our freelance graphic designer who specialized in taking very abstract shots of objects he would find on the street: crushed drink cans, road markings etc. I found his work really interesting and began to take similar shots using the camera on my cellphone.

Why did you not use a ‘real’ camera?

Glenn: First of all is, of course, convenience: I almost always have my phone with me and the picture quality is much better than some people may think. Second, and more interesting to me, was the idea of ‘accessibility’ – which is to say that I wanted to show that a person didn’t need an expensive camera outfit to take good pictures.

So even though you could easily purchase a good camera, you stuck with the cellphone camera for some time to prove a point?

Glenn: That is correct. It really speaks to the “democratization” of art and communication that I spoke to you about before.

You pointed out that art and communication have been opened up much wider than in the past – how?

Glenn: One no longer needs ‘infrastructure’ and connections to be seen or heard: musicians can now record themselves and broadcast their music on YouTube or what have you; artists can display their work on social media or on their own websites; performers of all kinds no longer need an agent or big corporation to get them places. My cellphone photography, in my eyes, was part of that new dynamic. I was somewhat inspired by a story in the NY Times about a New York taxi driver who takes pictures of street scenes using a cheap disposable camera. My cellphone work was along the same lines.

What is the main focus in your work?

Glenn: I have focused – pardon the pun – my work on architecture and gritty urban street scenes. I like dereliction – rundown buildings, old junked cars, gritty street people. I really don’t know why, but I relate to it. I have pretty much given up on the cellphone pictures, as commercial work requires higher resolution photos, though the camera I now use is nothing special.

Why does your Mother think that you were born in the wrong era?

Glenn (laughing): Maybe because I like classic neon signs – I recognize that we are losing these icons at an accelerated rate, and if we don’t capture them on camera now, they will soon be gone for good.

Which work intrigues or fascinates you?

Aside from our graphic designer, I have not really been inspired by any one photographer in particular. But I am intrigued by William Eggleston.

The American photographer William Eggleston is widely credited with increasing recognition for color photography as a legitimate artistic medium to display in art galleries.

Yes. Eggleston’s work is very different, gritty, but different. Some have described his subject matter as ‘banal’ – but it’s of the real world, so if his subject matter is banal, then so is the world.

Glenn, thank you for sharing your thoughts with my readers.

Glenn McGillivray

Glenn McGillivray M.A. is Managing Director at the Institute for Catastrophic Loss Reduction in Toronto, Ontario.

His website www.rgmcgillivray.com/

Interesting articles on William Eggleston

http://erickimphotography.com/blog/2013/04/01/10-lessons-william-eggleston-has-taught-me-about-street-photography/

V. Tony Hauser and the Art of platinum printing

Tips from an expert on a ‘mysterious’ photographic process

I was waiting in line at Balzac’s – a wonderful coffee house in Toronto’s historic Distillery District –  looking at the last delicious danish pastry, hoping that the tall man in front of me is not going to …

“Don’t worry”, he says, smiling.  “It’s got YOUR name on it.”
“Thanks! You look like a Swiss friend of mine.”
“I used to live in Germany about 40 years ago.”
“Where about?”
“Oh, a small town with a beautiful castle – Auerbach, have you ever heard of it?”
“I grew up there!”

V Tony Hauser

V. Tony Hauser  is one of Canada’s foremost portrait photographers. He works with antique large-format cameras in black and white for aesthetic qualities and permanence. Hauser’s fine art work is in platinum – “the most permanent and luminous of the photographic processes”, he says. “This old process of hand-coating platinum metals onto fine art papers creates the most enduring and luminous photographs.”

V. Tony Hauser – who has several bodies of work, including nudes, travel, dance, and indigenous peoples – travelled to Kenya several times, documenting the humanitarian work of Canada’s most inspired international, youth-motivated aid organization “Free the Children”.

Attracted by the complex customs of various African tribes Hauser became acquainted with traditional Maasai villagers who eventually invited him to their homes to be photographed. “I was intrigued by the Maasai’s regal poise and serenity”, says Hauser, who began to make portraits with both modern and antique cameras. The results are stunning, showing intimate, engaging and elegant images of tribal chiefs, elders, families and children or young ‘warriors’ at the brink of manhood.

V. Tony Hauser’s photographs are included in permanent collections of the National Archives of Canada, the Stratford Festival, the Canadian Museum of Contemporary Photography and numerous private collections around the world.

————————- INTERVIEW ————————-

As V. Tony and I sit over a cup of coffee, I get to ask him a few questions regarding the process of platinum printing – a monochrome printing process that provides the greatest tonal range of any printing method using chemical development, and the most durable results.

Question: V. Tony Hauser – you are an expert in platinum printing. How did it all start?

Hauser: Almost 20 years ago, I hired a photography student from Ryerson University – David Black – who suggested one day that I should make some platinum prints. I told him that it sounded expensive, but intriguing and if he wanted to do some research, we could give it a shot. He found out various ways of this early photographic and often described as “mysterious” printing technique. We ordered pure platinum solutions at outrageous costs (for my budget) and spent a year making 9 beautiful prints in sizes 11 x 14 to 14 x 17 inches.

Is platinum printing an expensive technique?

Hauser: Yes, it is. By the time we finished the prints, we had already spent some $ 15,000 – but I was hooked! I ended up participating in three intensive workshops to learn more about the whole process, and mostly how to be a more cost efficient platinum printer.

What is your advice for beginners?

Hauser: Don’t start out making large prints – the kind I overzealously attempted. Make prints from 4 x 5 or even smaller negatives, and make them with Palladium only. Palladium is a sister metal to platinum – it is usually less expensive and renders equally beautiful archival prints. I suggest to contact Bostick & Sullivan in Santa Fe, New Mexico, who can sell you a starter kit with printing instructions.

Do you offer workshops in platinum printing?

Hauser: I will give workshops to individuals upon request, but my current dark room does not allow me to have more than one student at a time – it’s a space issue. I have been approached to do workshops with groups up to six and would be willing to arrange such a workshop. It could be done in a lodge in Ontario, at a lovely setting. It could be a three day workshop where on day one participants could possibly make an image, preferably in film with a camera bigger than 35 mm. On day two and three the participants would all get a chance to learn hand coating techniques and printing their image(s).

Are you also available for lectures?

Hauser: Absolutely. I have done many lectures on platinum printing and various aspects of photography and am available to such requests from time to time.

V. Tony Hauser – thank you for sharing this information with my readers.

————————————————

More about the Secrets of platinum printing:
http://www.worldofchemicals.com/media/videos/secrets-of-platinum-printing-by-v-tony-hauser-2-of-3/2138.html

About V. Tony Hauser
http://www.daymen.ca/loweprofessionals/pros/hauser/Tony-Hauser.html

Tara Juneau – a fiercely individualistic painter

Let me introduce you to Tara Juneau – an exceptional artist, one very committed to her own ideals, her own journey and her own work.

Oil painting by Tara Juneau

I recently purchased this painting by Tara, who lives on Vancouver Island. The accomplished painter has won many awards at local art shows and was the youngest artist ever represented by Morris Gallery in Victoria. She studied with Dutch artist Johannes Landman, with the famous Anthony Ryder in Santa Fe, as well as Jeremy Lipking in California.

Tara has been described as fiercely individualistic – and “that is not always easy because the world of Art can be a very critical community and too often ruled by the superficiality of fashion”, says Christine Clark, creator and curator of the Balcony Gallery at XChanges in Victoria.

“Juneau is such a perfectionist that she burns what she describes as her ‘unsuccessful paintings’ in a remote location in Cowichan Bay,” says Christine Clark. “Artists are generally encouraged, and many of us are probably just naturally hardwired, to save (or at least document) every scrap of work, right down to the crumpled life drawing sketches from first-year art class.”

Burning art would be considered by most of us as a rather radical thing to do.

I remember an article in the Guardian about a Naples museum director burning art to protest at lack of funding last year. Himself an artist, he had set fire to one of his own works and then sent photocopies the chair of the European parliament’s culture and education commission, the culture minister in Rome and the regional governor in Naples, warning them of what he intended to do. But none had replied.

Tara Juneau burns her paintings for personal reasons. “Burning them is a very spiritual act for me. I am releasing them, detaching myself from all the time and energy put into them. I paint my feelings and experiences, so it is also like releasing those as well. I think people become too attached to their own ideas and preconceptions of what and how things are and it stops them from growing.”

Cool illustrations by cartoonist Simon Roy

Copyright Roy/Creese 2013

A cartoon is a piece of art, which is usually humorous in intent. The Punch Magazine applied the term in the mid 19th century to satirical drawings and sketches by John Leech. Major political newspapers in many countries featured humorous or satirical cartoons – sometimes with piercing effect – commenting on the politics of the day.

I like the work of Simon Roy,  a young cartoonist and illustrator from Victoria, BC, Canada.

He burst onto the scene with his first book “Jan’s atomic heart” that left reviewers wondering if he was a new talent or a classic creator from Europe. Every review cited the resemblance of his work to the artists of Heavy Metal Magazine, where he has also been published.

Simon has illustrated a series of comics for my colleague Robert Creese in 2011 – and we were delighted with the results!

Simon is currently illustrating Image Comics’ “Prophet” series and will be writing future issues as well. He is the illustrator for the new online comic “Continuum” based on the television series produced in Vancouver for Showcase TV and he participated at the Pacific Comics Art Festival in Victoria in October.
More of Simon’s work can be found at http://www.robot-blood.blogspot.com

 

Using art and social media to promote a business vision

I just came across a wonderful example of a young entrepreneurial woman using art and social media tools to build awareness for her business idea in her search for possible investors and sponsors.

Natasha Grau-Ensminger has a vision for a creative and communal local art and food lounge that supports the community of Victoria, B.C. and brings a new concept to the capital city of British Columbia, Canada.

What kind of art? “Non-traditional, colourful, imaginative”, says the founder of Lacey-Lou Tapas Lounge Inc.  “Victoria is home to countless talented artists who have limited opportunity to display their work. By combining an art gallery and lounge, our customers can take the time to enjoy and discuss the works in a relaxed environment.”

Students, cooks, servers, bartenders, artists, musicians, contractors, entrepreneurs and industry mentors have contributed to the Lacey-Lou business plan over the past year, explains Natasha. “Together we will continue to work on this project and set the plan in motion.”

Natasha reaches out to people who care about what she does.  She’s been expanding her social network over months, showing them her talent by posting photographs of her art work, talking about her business ideas and vision and then bringing it all together in a superb funding campaign on indiegogo.com

http://www.indiegogo.com/projects/lacey-lou-tapas-lounge-inc

Check out the video clip about her project that she filmed on her I phone and edited all by herself.  A job well done and a great example of how effectively social media tools can be used for promoting one’s art, business and vision.